Page 13 - GALIET THE HOLY WORD: Blake IV++

exploitation of children oppress, suppress. Blake mourns innocence’s loss, humankind’s fall: its hellish wars, scattered limbs, its grim disease and riches slim. Against innocence’s camp, there exists corruption’s swamp, its dimming lamp.
In Songs of Innocence’s and Experience’s midst, Blake’s Introduction poems, juxtaposed with their frontispieces, reveal the wondrous opposing synergy in his poetic structure, imagery and ontology: The Metaphysics of Splendor.
Blake’s Hegelian, Freudian and Nietzschean dialectics, sings to the Metaphysics of Splendor: Poiesis as ontology 3⁄4 the exuberant creative energy arising from strifing opposites, the spark of imagination’s light. There, Anti-Poiesis blossoms into Poiesis as if absence blossomed into presence, as if the self- seed, sowed in Tragedy’s bleak midst, were bursting forth through many a rosy thorn, or were seeing though many a Selva Oscura, or were seeking salvation through many an Eden Lost, to renew the fallen world.
There, in the liminal space past Tragedy’s Way is found Poiesis’ Gate illumining the Wondrous Way towards the divine self. There, the self blooms unfolding its crystalline sight: blossom- light. There, too, the self comes to know itself as the mirror of something greater than itself: a little being, a little part of the whole, and meets Hegeliana, the most beauteous of the Ideal Forms. In her magic soil of light made, there dwells a fabled
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